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Social and Behavioural Sciences European Proceedings of Social and Behavioural Sciences EpSBS www.europeanproceedings.com e-ISSN: 2357-1330 DOI: 10.15405/epsbs.2020.05.29 OPIICS 2019 International Conference of Psychology, Sociology, Education, and Social Sciences BODY ART AS A NEXUS BETWEEN A BROKEN BODY AND A RECONCILED IDENTITY Paula Carredano Mateos (a)*, Laura Martín Martinez (b) *Corresponding author (a) Menorca 8, 6B, 28009 Madrid, Spain, [email protected] (b) Principado de Asturias 3, 28231 Las Rozas, Madrid, Spain, [email protected] Abstract Perceptual images (configured sensorial modalities) and remembered images (produced by the memory) act to reach objective knowledge in both the reasoning and the decision-making process. The images we perceive are real for ourselves, while the ones provided to us by others are images comparable to our reality. Images are generated through a complex neuronal network in which perception, memory and reasoning take part From the very beginning, the staging produced by Body Art has allowed artists to fictionalize their own lives by establishing relationships between the images they perceive and the ones they produce, both which cause their own identity to be questioned, disintegrating the essence of oneself. In this article we will expose some pieces from Stephen Dwoskin’s work (1939-2012), an artist subjected to a “broken” body by a chronic illness and who invites others to occupy his place in several occasions by using his prosthesis. With these performances he pursues to generate perceptual images that modify the way others sense their own body. This experience displaces the body from its own conscience by creating new perceptions and memories and, hence, a new reasoning that allows the artist to reconcile with the gaze of others. 2357-1330 © 2020 Published by European Publisher. Keywords: Broken body, identity, self-embodiement, perceptual images, action art. This is an Open Access article distributed under the terms of the Creative Commons Attribution-Noncommercial 4.0 Unported License, permitting all non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. https://doi.org/10.15405/epsbs.2020.05.29 Corresponding Author: Paula Carredano Mateos Selection and peer-review under responsibility of the Organizing Committee of the conference eISSN: 2357-1330 1. Introduction This article advocates that Body Art establishes a nexus between a broken body and a reconciled identity by analyzing the body art of Stephen Dwoskin, who at the age of nine, suffered from a severe poliomyelitis infection. Curtis (1971) reveals how this disease strongly affected Stephen’s neuromusculoskeletal system, paralyzing his legs completely and confining him to the use of crutches until he finally ended up in a wheelchair. Perhaps this is the reason why the human body was the main subject of his work. Beautiful bodies and sick or deformed bodies confront Dwoskin’s prejudices, inhibitions and taboos. Dwoskin both directs and performs in his films, involving the spectator directly in both gazes, seeing and being seen– always with the purpose of knowing what others are like, connecting with their minds and understanding the impression that his broken body makes on them. Siegel and Solomon (2003) define social neuroscience as “the interdisciplinary study of the neurobiological processes (nerves, endocrine, immune) that allow us to interact with the social world” (p.2). Recent studies in social neuroscience field show how specific conflicts in the relationships with others can leave aftermaths in our identity. Throughout the experience lived in his films, Dwoskin deconstructs the previous image of his body to invent a new one through the body of others. Social representations inscribe in the body a concrete discourse related to the general symbolism shared by society. The pertained images and knowledge that concern depend completely on a social state, on a vision of the world and, within this vision, on the definition of the “persona”. Therefore, the body becomes a symbolic construction instead of a reality in itself; from the symbolic interpretation, and through a physical experience in space and time, the body reaches the role of mediator between the external world and the inner self. The body is the means by which we produce ourselves as social beings within a social space built, in reality, by ourselves (Fernández, 2015, pp. 32-46). Body Art understands the body as a socio-cultural and versatile (physical, psychological and social) construction of the self. This artistic discipline could be defined as an internal reflection that becomes public through action. This action leaves a trace on both the artist’s and spectators’ perceptual memory while sharing a time-space relationship. Damasio (1994) presents “the body as a theatre of emotions”, describing it as the place where feelings are dramatized to return to the brain and vice versa. This dramatization develops new images that the brain learns to absorb and project through “neurotransmitter nuclei activation that are essential in the cerebral representation of the body management. There are, hence, neuronal units that help us feel as if we had an emotional state” (Damasio, 2005, p. 220). Stanislavsky (1983) states that actors should experience the performance by recreating life from their human condition, where body and mind must establish a constant dialogue. This pedagogue-director gives the name of the “Magic If” to the stimulation of the imagination that allows actors to embody a character. When the actor performs from emotion and conscious technique, this prompts the imaginary and becomes moved by his own passions lived through the experience. 277 https://doi.org/10.15405/epsbs.2020.05.29 Corresponding Author: Paula Carredano Mateos Selection and peer-review under responsibility of the Organizing Committee of the conference eISSN: 2357-1330 2. Problem Statement The body is a real and symbolic space, a place for life, but it is also a place for pain and tragedy. Stephen Dwoskin presents the body as a theatrical stage, transforming his illness into an artistic representation of pain. He projects his diseased body onto the body of others to intervene and modify their own perception. He subjects and exposes the bodies of others to states of extreme hardness that is caused by his disease de-dramatizing it through humour. Fiction and reality fuse in his work to filter the artist pain through the performer’s pores when private becomes public transforming it in an almost cosmic experience. Performance is a philosophy of direct contact; It is a language of complex signs and symbols that relate to the viewer immediately and that, as the artist and the viewer are confronted, causes an expected but unknown reaction for both parties (Tarcisio, 2001, p. 21). When action takes place in his performances, the boundaries between reality and fiction merge. The objective of his work is to transform and rebuild his body through the gaze of the other to modify his own processes of subjectivation. "Subjectivity is based on the body because it seems to be configured as a guarantor of unity, of individuality, of the autonomy of a subject - I, conscience, self-image of himself - recognized as such in a given collective" (Romero, 2006, p. 142). Stephen Dwoskin aims to recognize his body in the gaze of the Other, that is to say, facing the mirror, and vice versa. Freud (1971) explains how the mirror means the subjective gaze, “a real experience of refraction and physical reflection, captured essentially by the sense of vision as a bridge to the integration of the other sensory categories and finally to the cohesion of the Self” (Sánchez, 2016, p. 3). The artist is aware of having suffered a fragmentation in the way of living his body due to his illness and caused by the gaze of the other. This fragmentation inevitably leads to identity conflicts. The gaze of the Other has been causing records in memory that have been changing the perception of himself and projecting this perception onto others. Lacan (1966) explains how the recognition of the subject in a mirror supposes a “transformation that occurs in the individual when he assumes an image, an image that is not anyone but that of the totality of himself as similar to his own species” (p. 12). 3. Research Questions Throughout our study we asked the following research questions: Can Body Art act as a therapeutic process to rebuild a fragmented body? Can art act as a nexus between a broken body and a reconciled identity? To answer these questions, we expose and analyse the work of experimental filmmaker Stephen Dwoskin below. 4. Purpose of the Study Through this study we focus our attention on the perceptive experience of one’s body implied in Body Art. In the analysis of selected pieces from the filmography of Stephen Dwoskin, we intend to reveal the hints that display how art through action is able to reproduce body states that induce the modification of "the sympathetic emotion in a feeling of empathy" (Damasio, 2005, p. 114). 278 https://doi.org/10.15405/epsbs.2020.05.29 Corresponding Author: Paula Carredano Mateos Selection and peer-review under responsibility of the Organizing Committee of the conference eISSN: 2357-1330 5. Research Methods For the research of this article, we have applied the methodology of analysis of a descriptive case study. We present a theoretical analysis of meaningful pieces from the filmography of Stephen Dwoskin that we believe useful to evidence the validity of our proposal: the power of art in the reconciliation of the identity. In order to get a wider scope, we have brought the theoretical knowledge of the artistic and scientific fields together. 6. Findings 6.1. Presentation and analysis of the case study: Stephen Dwoskin Before receiving Fulbright scholarship with which he would move to London, Dwoskin was already part of New York’s underground scene.
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